{"id":1285,"date":"2017-03-23T18:20:30","date_gmt":"2017-03-23T18:20:30","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/?post_type=chapter&p=1285"},"modified":"2020-04-11T21:51:42","modified_gmt":"2020-04-11T21:51:42","slug":"symphony-and-string-quartet","status":"web-only","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/chapter\/symphony-and-string-quartet\/","title":{"raw":"Symphony and String Quartet","rendered":"Symphony and String Quartet"},"content":{"raw":"Structure and character of Haydn's music\r\n<\/strong>A central characteristic of Haydn\u2019s music is the development of larger structures out of very short, simple musical\u00a0motifs. \u00a0This characteristic \u00a0was central to the development of what came to be called\u00a0sonata form.\r\n<\/strong>\r\n\r\nPerhaps more than any other composer\u2019s, Haydn\u2019s music is known for its humor.\u00a0The most famous example is the sudden loud chord in the slow movement of his\u201dSurprise\u201d symphony. \u00a0Haydn\u2019s early slow movements are \u00a0relaxed, and reflective and not too slow. Later on, the emotional range of the slow movements increases, notably in the quartets. \u00a0The\u00a0minuets\u00a0tend to have a strong beat and a clearly popular character. Over time, Haydn turned some of his minuets into \u201cscherzi\u201d which are much faster, at one beat to the bar.\r\n\r\nMuch of the music was written to please and delight the prince at Estherhazy. \u00a0Its emotional tone is correspondingly cheerful perhaps also \u00a0reflecting Haydn\u2019s personality.\r\n\r\nEvolution of Haydn's Style\r\n<\/strong>Haydn\u2019s early work dates from a period in which the compositional style of the High\u00a0Baroque\u00a0(seen in\u00a0Bach\u00a0and\u00a0Handel) had gone out of fashion. This was a period of exploration and uncertainty, and Haydn, born 18 years before the death of Bach, was himself one of the musical explorers of this time. \u00a0Haydn acknowledged \u00a0Carl Philipp Emanuel Bach's\u00a0 important influence.<\/span>\r\n<\/strong>\r\n\r\nTracing Haydn\u2019s work over the six decades in which it was produced (roughly from 1749 to 1802), one finds a gradual but steady increase in complexity and musical sophistication, which developed as Haydn learned from his own experience and that of his colleagues. Several important landmarks have been observed in the evolution of Haydn\u2019s musical style. In the late 1760s and early 1770s, Haydn entered a stylistic period known as \u201cSturm und Drang\u201d (\u201cstorm and stress\u201d). This term is describes music that \u00a0is more intensely expressive, especially in the works in minor keys. Works could be described as \u00a0\u201clonger, more passionate, and more daring. It was also around this time that Haydn became interested in writing\u00a0fugues\u00a0in the Baroque style, and three of the Op. 20 quartets end with a fugue.\r\n\r\nhttps:\/\/courses.lumenlearning.com\/music-app-rford\/wp-admin\/post.php?post=1429&action=edit<\/span>\r\n\r\nHaydn - Symphony # 100\r\n<\/b>The most popular of all the twelve <\/span>London<\/i> symphonies was the one in G major, which received its premiere performance on March 31, 1794. (It is now known as Haydn's <\/span>Symphony # 100. \u00a0<\/i>Despite their disparate sources, all four movements form a remarkably cohesive whole.<\/span>\r\n<\/b>\r\n\r\nhttps:\/\/youtu.be\/QSeFoFdURWk\r\n\r\n \r\n\r\nThe work<\/a> begins in a rich slow introduction<\/strong>. \u00a0(0:00-134) \u00a0with double-dotted rhythms, trilled notes to add a pervasive air of expectation, stops and rests to introduce the essential element of silence,\r\n\r\nFirst movement<\/strong> \u00a0is a well developed sonata form and the longest most important movement of the work \u00a0(1:35- 7:20). Listen for its clear phrases and \u00a0appealing melodies. \u00a0You may not hear all of it \u00a0(it is long) but get a sense of its feel and style.\r\n\r\n[caption id=\"\" align=\"alignnone\" width=\"507\"]\"the the allegro flute theme of the first movement[\/caption]\r\n\r\nThe second movement<\/strong> (7:46-12:35) is a very lyrical \u00a0allegretto.\u00a0<\/i>\u00a0 Haydn \u00a0assigns \u00a0his main melody to a quartet of flutes and oboes straining at the very top of their ranges. There is a military fanfare -\u00a0 almost an interruption -\u00a0 in the middle of the movement.\r\n\r\n\r\n\r\n
\"The\r\nThe simple theme of the allegretto - 2nd Movement \u00a0Haydn Symphony #100\u00a0<\/i><\/span><\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n \r\n\r\n \r\n\r\nA deceptively calm beginning features one of his simplistic, child-like tunes, even though the scoring is darkened by adding a pair of clarinets to the other movements' complement of strings and pairs of flutes, oboes, bassoons, trumpets and horns.\r\n\r\nThe third movement :\u00a0menuetto<\/i> movement<\/strong> is a modest old-fashioned dance that stands apart from the typical minuets of the time foreshadowing \u00a0the deeper undercurrents of Beethoven's scherzos<\/i>.. Note the meter in three and other characteristics of the minuet (form, style, tempo) . Also note the emphasis on the first beat of the measures\u00a0 of the opening ABA\r\n\r\nThe presto<\/i> finale\u00a0 \u00a0<\/strong>17:30 is a moves quickly with fast groups of notes with\u00a0quiet stretches and loud outburst\r\n\r\n\r\n\r\n
\"The\r\nThe theme of the presto<\/i> finale \u00a0Haydn - symphony #100<\/span><\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n \r\n\r\n \r\n\r\nhttps:\/\/youtu.be\/nFCP9KqUGjM\r\n\r\nJanissary Influence in classical music.<\/strong> Janissary music is Turkish band \u00a0music with an \"exaggerated\" \u00a0emphasis on symbols and drums It is a\u00a0<\/b>\u00a0 a musical style that was occasionally used by the European composers of the Classical music era. This music is modeled \u2014 though often only distantly \u2014 on the music of Turkish military bands, specifically the Janissary bands. Due to the \u00a0influence of the Turkish or Ottoman domination of Europe \u00a0the is an interjection of \u00a0this style in various classical works. The sound of the Ottoman military band is characterized by an often shrill sound combining bass drums, horns (boru), bells, the triangle and cymbals (zil), among others. It is still played at state, military and tourist functions in modern Turkey. \u00a0Janissary influence may be heard \u00a0in\u00a0the second movement \u00a0and also in the 4th movement of this work.\u00a0 Listen to part of the above selection beginning\u00a0 at 1:35. Listen again at 5:03.\r\n\r\nThe String quartet<\/strong>\r\n
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<\/dd>\r\n<\/dl>\r\n[caption id=\"attachment_2074\" align=\"aligncenter\" width=\"500\"]\"Photo<\/a> The Orava Quartet[\/caption]\r\n

Introduction<\/h2>\r\nString quartet refers to a musical ensemble of four string players: two violin players, a viola player and a cellist\u00a0 or a work written for such a group. It is is one of the most prominent chamber ensembles in classical music, with most major composers, from the mid to late eighteenth\u00a0century onwards, writing string quartets.\r\n\r\nHaydn developed the string quartet into its current form. His works in the 1750s establishing the genre. Ever since the string quartet has been considered a prestigious form representing\u00a0 one of the true tests of the composer's art. Four performers\u00a0 gives a\u00a0 composer enough lines to fashion a full ensemble \u00a0but not a lot to spare for variation in texture and \u00a0tone colors. The\u00a0 composer of symphonies commands the means for\u00a0 much more texture enrichment \u00a0with many more tone colors. In addition the concerto medium offers the further resource of personal characterization and drama in the individual-pitted-against-the-mass vein. However a \u00a0writer of string quartets \u00a0must have \u00a0discipline and focus. One could say the \u00a0string quartet is one of the most a highly developed genres in the field of chamber music\r\n\r\nQuartet composition flourished in the classical era, with Mozart, Beethoven, and Schubert following Haydn in each writing a number of quartets. A slight slackening in the pace of quartet composition occurred in the later nineteenth\u00a0century, in part due to a movement away from classical forms by composers such as Liszt, Wagner and Richard Strauss, though it received a resurgence in the twentieth\u00a0with the Second Viennese School, Bart\u00f3k, Shostakovich, and Elliot Carter producing highly regarded examples of the genre. It \u00a0currently remains an important and refined musical form.\r\n\r\nThe standard structure for a string quartet is four movements - similar to the Symphony:\r\n\r\n1. \u00a0Allegro (in sonata-allegro form)\r\n2. Slow, lyrical movement, often in A-B-A or theme and variations form\r\n3. A moderate dance in minuet and trio form\r\n4. A fast movement in sonata-allegro or rondo formListen: String Quartet\r\n
\r\n\r\nhttps:\/\/en.wikipedia.org\/wiki\/String_Quartets,_Op._76_(Haydn<\/span>)\r\n\r\nOpus 76, No. 3 (\"Emperor\")<\/span><\/strong>\r\n\r\nThis is a famous movement known for its beautiful \u00a0theme and variations movement from Haydn's Emporer Quartet \u00a0- built upon \u00a0\"Gott erhalte Franz den Kaiser\" (\"God Save Emperor Francis\"), an anthem Haydn \u00a0wrote for Emperor Francis II. This melody became the German national anthem, the Deutschlandlied. Though only the second movement is presented here, the quartet consists of four movements:\r\n